I don't remember a lot of the NEXT TO NORMAL musical staging (I wouldn't call it "choreography" since it isn't really dancing as much as seamless movement). I say PalJoey put it best, it's simply unobtrusive.
The scenes I remember the most in terms of staging are the "My Psychopharmacologist and I" sequence and the "You Don't Know/I Am the One" scene. In the former, Trujillo cleverly uses the set by having the characters act like a Greek chorus above while the action with Diana and the doctor happens on the bottom of the set. It works really well, especially the way he groups the chorus together. The "You Don't Know" sequence is probably my favorite moment in the show and I think it's one of the best moments in terms of choreography. You can see it at the Tonys. There's a brilliant moment where he has Diana almost dance, but almost move regularly, I don't know how to explain it, but it works beautifully. She almost engages in a dance with her husband during the "you say you hurt like me" section of the song, but it's never fully realized. It works so well. I also really enjoy the fast-paced opening sequence.
I thought his job in GUYS & DOLLS worked but really there was little he could do when he was working with a terrible star (Lauren Graham). The Hot Box numbers never soared and the chorus dancers stole the spotlight from Adelaide. The Havana Sequence was fun, but it was hard to get invested in the show so late into the travesty. I did love his staging for "Sit Down You're Rockin' the Boat," but again, and I'm quoting/paraphrasing PalJoey quoting Arthur Laurents "you could have Sadam Husseim and his sons perform the number and it'll still stop the show."
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
